GRAPHIC NOVEL and TRADE PAPERBACK (TPB) REVIEWS

Batman - I - J

Batman in the Eighties 2004 (SC TPB) 192 pages

Written and illustrated by various.
Colours/letters: various

Reprints:

Rating: N/R

Number of readings: various

I haven't read the full book, hence why I haven't given it an official rating

DC Comics periodically releases TPB collections spotlighting a decade in the lives of either of its two chief properties, Superman and Batman (such as Superman in the Seventies. The latest is Batman in the Eighties featuring a variety of tales culled from the 1980s. Essentially, these are "Best of..." collections and, often, the results can be a bit mixed (everyone will have a favourite story that they felt should've been included). But Batman in the Eighties is a surprisingly strong effort, and a nicely diverse one (in contrast, Batman in the Seventies -- reviewed below -- consisted mainly of stories written only by one author, Denny O'Neil).

I don't have the book, nor have I read all the stories collected in it. However, I do have a number of the original stories in my collection and, based on them, I can say this is a good book. Even if the remaining, unread, stories are utter dreck, it shouldn't detract from the quality of the better efforts.

"To Kill a Legend", originally published as the lead feature in the 500th anniversary issue of Detective Comics, has already been collected more than once over the years (including in The Greatest Batman Stories Ever Told). Admittedly, I have qualms about that: TPB collections are sufficiently expensive, and seem to be propogating exponentially, that companies should try to avoid repetition if possible. With that being said, it's an emotionally rich tale as Batman is given the opportunity to avert his parents' murder on a parallel world -- but Robin worries that to do so will mean that parallel world's Bruce Wayne will never grow up to be Batman. And which is the greater crime? Intelligently told by writer Alan Brennert, with strong dialogue, and illustrated competently by Dick Giordano, it's definitely a memorable one, drawing upon the then-mythos relating to who and why Batman's parents were initially killed (stuff no longer considered canonical).

The double sized "The Player on the Other Side" (Batman Special #1) may well be one of prolific comics writer Mike W. Barr's finest achievements. I'm generally ambivalent about Barr, a writer who often tried for ambitious themes, but usually with mixed results. But this works exceptionally well. Batman meets his doppleganger in the Wrath, an assassin whose parents were killed by a cop the same night Batman's were murdered by a crook, and who grew up to wage war on all law enforcement. His current target is Commissioner Gordon -- the one-time beat cop who killed his parents. In addition to the clever themes of dual destiny, and some memorably written exchanges, it's just a well crafted thriller, with some nice, edge-of-the-seat suspense scenes (Batman frantically calling home after realizing the Wrath knows his identity and that Alfred is in danger). It's drawn by the too rarely seen Michael Golden, with the only flaw that Golden could only ink of few of his own pages, leaving the rest to Mike DeCarlo, an inker with a rigid, hard-line style not wholly suited to Golden's soft, organic pencils. Also the colours in the climax don't exactly evoke the night time setting. But those are minor quibbles.

I was surprised by the inclusion of "Shadow Play" (Batman #348) partly because I initially assumed it was the story from one issue before (which also had "shadow" in the title) which was more clearly aiming to be a profound semi-classic. But re-reading "Shadow Play" again, I'm glad they went with it. Firstly, it's written by Gerry Conway, a comics writer who wrote for just about every title at one time or another in the 1970s and 1980s (as did most writers of his generation). Conway had his creative ups and downs, but I don't think he's ever quite received his due from fandom. And his tenure on Batman, including an epic masterpiece of Byzantine sub-plots, is one of my favourite creative periods of any title in any era (as I detail here). But "Shadow Play" is also just a well told tale, and one that showcases an unusual aspect of Batman -- his compassion -- as he journeys into the dark catacombs of the Batcave, risking life and limb, seeking the mad Man-Bat in an effort to cure him. It's well paced, with Conway's nice ear for easy, humanizing dialogue between the characters making you believe in them and their relationships, and it's effectively illustrated by the unusual combo of Gene Colan and Klaus Janson.

What you notice about all three of these stories -- culled from what's known as pre-Crisis continuity -- is that it's a rather different Batman than is often depicted today. He's a more human, well rounded Batman -- one capable of compassion, and of fear, of self-doubt and guilt, and of demonstrating easy comaraderie with Robin...all while still being driven and brooding.

Gosh -- I miss him.

"Dreadful Birthday, Dear Joker...!" (Batman #321) is a more problematic choice. It too has been collected more than once before (including in The Greatest Joker Stories Ever Told). And I just don't see what the fuss is about. It's a perfectly O.K. romp, but a tad generic -- there's nothing that sticks out about it. Though, in this context, that might be its appeal -- its lack of pretension. It's drawn by Walt Simonson and scripter Len Wein is one of my favourite writers from the Bronze Age. And it's the dialogue that I appreciate most here. Sometimes with just a line or two, Wein could convey whole layers of character interaction (such as a brief, understated exchange between Batman and Selina Kyle, then reformed and dating Bruce Wayne).

This collection also includes a two-part Batgirl tale originally run as a back up feature. Batgirl had long lurked in the back pages of Detective Comics, often no more than competently written or illustrated. This story wasn't so much a breath of fresh air, as it was a tornado of oxygen -- particularly in the art department. Moodily illustrated by the dynamic, eclectic Trevor Von Eden, and with Barbara Randall (later Barbara Kesel) writing an off beat tale involving sibling rivalry and corporate crime, it kicked the dust off the character. It was a Batgirl tale that suddenly made me look forward to Batgirl tales...so, naturally, it also turned out to be the last Batgirl tale, at least in that period, as DC dropped it. Why bring in a whole new creative team...and then pull the rug out from under the character after only two seven page instalments? Still, particularly visually, I tend to think of this as one of the Silver Age Batgirl's finest hours.

What's interesting and applaudable about this collection is a desire to reflect the whole of the Bat-mythos. In addition to the solo Batgirl story, there's also material dealing with the Outsiders (Batman's early 1980s team) and the Teen Titans (Robin's group). In fact, the motive behind including "Shadow Play" may well have simply been to present a Man-Bat appearance. Also collected here are stories from Batman #384, Detective Comics #571, The New Titans #55, and DC Sampler #3.

As mentioned at the beginning of this piece, I haven't read all the stories here -- but most of those I have are worthy efforts. In fact, based on these stories, and assuming the same care and taste went into selecting the others, if my wallet was any heavier, I'd be sorely tempted to pick this up to see what I'm missing. As it is, I can say with reasonable confidence that Batman in the Eighties is well worth the trip through time.

Cover price: $__ CDN. $19.95 USA.

Batman in the Seventies 1988 (SC TPB), 192 pgs.

Written by Dennis O'Neil, and others. Art by Neal Adams, and other.
Colours/letters: various.

Rating: * * * * (out of 5)

Reprinting: stories from Batman #232, 237, 260, Detective Comics #407, 410, 442, 457, 481, Batman Family #1, DC Super-Stars #17,

Number of readings: various

Comics companies occasionally put out "best of" collections for signature characters, and DC has done that with Batman (various "Greatest Stories Ever Told" TPBs) but given the sheer longevity of the character, they've also put out collections focusing on individual decades (Superman, too, has received the decade-by-decade treatment). Which brings us to Batman in the Seventies which collects various classic, seminal, and otherwise noteworthy tales culled from the 1970s.

The problem with reprint collections, is it can reach a point where the same stories keep getting reprinted. Almost all of the stories collected here...have been previously reprinted! But, to be fair, some of those earlier reprints I'm thinking of...are themselves long out-of-print (such as old digests from the 1980s!)

Anyway, of the eight tales I've read, this certainly stands as an entertaining, better-than-decent collection.

A quibble I have is the sheer volume of Denny O'Neil scripted stories. O'Neil is certainly seen as a defining writer on the character but, in a collection like this, it can result in a certain sameness to the stories. Likewise, although there is more diversity of artists represented, the well regarded Neal Adams dominates, and there were other pencillers who warranted representation.

The collection's high point is an O'Neil/Adams collaboration -- "The Night of the Reaper" (from Batman #237) a dark, moody tale mixing pathos, whimsy, and gothic mood, yet atypically in the service of a story steeped in a real world political relevancy as Batman (and Robin) hunt a Nazi war criminal during a Halloween masquerade party, while a mysterious killer also stalks the night. It's an exceptional tale, on a variety of levels, and though it had been reprinted a few times...that was decades ago. The fact that this is the first time it has been included in any TPB collection is surprising. Though one suspects the story's concept of a Grim Reaper garbbed vigilante killer influenced Batman: Year Two and the animated movie, Batman: Mask of the Phantasm.

Some of O'Neil's other stories more reflect my ambivalence toward his style. "This One'll Kill You, Batman!" (Batman #260) is drawn by Irv Novick, an artist I never quite warmed to as a kid, but kind of like more as an adult, with his realist faces and unsplashy style. The story pits Batman against The Joker and is a perfectly enjoyable little romp...but it's basically the sort of dubious comic book-y plot O'Neil (and others) relied on so often, where the plot is there to justify the scenes, and no more. So Batman is doused with the Joker's laughing toxin which, conveniently, only two men in the world can cure, and the Joker tries to kill them first. And though racing the clock...Batman nonetheless takes time out to attend a funeral of a man he barely knew! (Yet, the scene of Bruce Wayne at the funeral, trying to suppress giggles brought on by the laughing toxin, told largely without words by Novick, is nicely effective). Some of the visuals are curious, such as the funeral scene...where it looks as though Novick has drawn other JLAers, out of costume, in the crowd, with Clark Kent and Oliver Queen in attendance. Was that a carry over from an earlier draft of the script? or an "in joke"? or a coincidence?...or was Novick maybe cribbing poses from another drawing (towards the end there's a panel of the Batman hitting the Joker that looks awfully similar to a panel in the classic Neal Adams drawn "Joker's Five Way Revenge" -- not that it's a direct, line-by-line, rip-off or anything).

Another O'Neil/Adams collaboration, "Daughter of the Demon" (from Batman #232) is one of the most oft reprinted Bat-tales ever, being the first appearance of villain Ra's Al Ghul. But as a story itself, it's nothing much to write home about. Sure, it's briskly paced, but again suffers from some ludicrous comic book plotting...a fact not quite mollified by the fact that Batman acknowledges how ludicrous it is. There's also a slightly racist aspect to its portrayal of Calcutta where we are told behind every door lies horror, and a knife behind every smile! I'm not sure the Indian tourism board would've approved (not that I'm trying to fault O'Neil too much...this was written almost 40 years ago, and he was trying to evoke an old pulp magazine flavour).

"A Vow from the Grave" (Detective Comics #410), yet another O'Neil/Adams effort (with the added distinction of having served as a source for an episode of the 1990s cartoon), starts out moody and atmospheric, as Batman encounters some canival misfits...but the basic plot/mystery/character development is minimal. While, "There is No Hope in Crime Alley!" (O'Neil teamed with artist Dick Giordano from Detective Comics #457) is fondly recalled by many. And it's certainly seminal, in that it fleshed out the mythos of the street where Batman's parents were murdered and introduced the character of Leslie Thompson into the Bat-legend. But again, as a story in-and-of-itself...it's pretty bland.

Another O'Neil story included in this TPB which I've yet to read was a collaboration with artist Marshall Rogers.

By and large, O'Neil just wasn't/isn't that subtle or deft a writer, nor was his Batman entirely that sympathetic or well rounded. Certainly scenes where Batman snaps at his closest friends like Alfred ("Just tend to your duties and stay out of my business!") and Robin ("Don't be stupid, kid!") smack of just clumsy writing, whatever the emotional provocation.

As a contrast, there's "Marriage: Impossible", written by Frank Robbins (equally well known as an artist) and drawn by Adams (again!) for Detective Comics #407. Featuring Robbins' Jekyll-and-Hyde like Man-Bat, there's a different tone than the O'Neil stories. Sure, it's a little more fantasy-flavoured, but I also mean in terms of pacing and themes and mood and the portrayal of Batman himself. I'm not saying it's inherently better, merely that in a collection such as this, a representation of different styles is appreciated. It's actually one of the best stories here, and presents a more compassionate Batman, seeking to help his tormented adversary. Granted, though telling enough of its tale to be read on its own, it is the third of three interconnected Man-Bat tales that probably read best together (they were collected in a 1984 Man-Bat one-shot special).

Another non-O'Neil entry is the Archie Goodwin-Alex Toth "Death Flies the Haunted Sky" (Detective #442) It's fast paced, but seems like any one of a zillion similar tales dating back to the 1940s as a mysterious killer (in a vintage bi-plane!) targets members of a business collective and Batman tries to play catch up, eventually revealing the killer. My suspicion is that it is remembered simply for the fact that it is one of the few Batman stories ever drawn by Alex Toth (well regarded within the biz).

There are other stories that could have been selected over some of the ones that were included -- stories that haven't been reprinted before. And worthy talents who deserved a tip of the hat...like artist Jim Aparo, and writers like David V. Reed, Len Wein, and most notably Bob Haney whose years writing Batman team ups in The Brave & the Bold produced many a decent page turner. Indeed, given The Brave & The Bold was one of the principal Bat-comics of the 1970s, material from it should've been included if only to represent the era (as might a Batman-Superman team up from World's Finest).

Rounding out this collection are a couple of Bat-Family tales -- stories not focusing on Batman himself. A feature length teaming of Robin and Batgirl (which I haven't read) and the origin of the original Huntress (by Levitz and Staton, subsequently included in a Huntress TPB collection) -- the latter, an interesting glimpse at the Earth 2 mythology, and a demonstration of how the Bat-theme was expanded upon...if not necessarily an especially memorable tale in and of itself.

I realize my comments may seem unduly negative. "Night of the Reaper" is a great story, period. And others, like "Marriage: Impossible" are highly entertaining. Even some of the lesser tales are certainly decent page turners, whatever their flaws. As I've noted before, sandwiched in a collection, you can sometimes forgive short comings that might be more glaring if a story was expected to justify the purchase all on its own. Well drawn throughout, Batman in the Seventies could've included more diverse creators, and stories less likely to have appeared in previous reprints, but as a grab bag collection...it's enjoyable enough.

Cover price: $__ CDN./$19.95 USA

Batman in the Sixties 1999 (SC TPB) 224 pgs.

Written by Bill Finger, Gardner Fox, Mike Friedrich, Frank Robbins, and others. Pencils by Sheldon Moldoff, Carmine Infantino, Gil Kane, Irv Novick, Chic Stone, Dick Sprang.
Colours/letters: various.

Reprinting: stories from (not always the whole issue) Batman #131, 144, 148, 155, 179, 181, 200, 217, Detective Comics #298, 341, 349, 369, 388-391, Batman's Kellogg's Special (featuring Catwoman) - 1960-1969

Additional notes: intro by actor Adam West (TV's Batman); various contextual editorial/paragraphs; various vintage covers, character profiles, etc; plus creator bios.

Rating: * * * * (out of 5)

Number of readings: 1

Reviewed: Jan, 2012

Batman in the '60s is one of a series of TPBs collecting Bat-tales from specific decades (in addition to the occasional "Greatest" TPB collecting stories from multiple decades). Most of these 10 year overviews give a decent snapshot of a particular creative era, so the appeal of the book (in addition to how good the individual stories selected are, of course) will depend on your pre-disposition for that era and its writing and art styles.

But Batman in the Sixties may be slightly anomalous in that sense, since the 1960s was arguably the most creatively transitional period in comics history, as the comic book style (specifically in super hero comics) that had been in place since the 1930s was giving way to the changes in story and art -- an overall (if sometimes only slight) sophistication -- that would set the tone and style that is the foundation of the comics published today. And Batman may be an even more dramatic demonstration of that evolution -- less because it ended the decade more sophisticated than its compeers, so much as it began the 1960s more simplistic. Visually, while the Flash, Green Lantern, and Superman were being graced by the polished, realist pencils of Carmine Infantino, Gil Kane, and Curt Swan, Batman began the decade with artists like Sheldon Moldoff still working in a cartoony, angular house style that was meant to evoke Bob Kane's art that dated back to the 1930s. Yet changes were in the offing, in part instigated both by the needs of the market, and by Julius Schwartz assuming editorship of the Bat-line. Carmine Infantino was brought over to give the visuals a more realist look, married with his more distinctive and stylish composition and storyboarding, with the likes of Gil Kane and Irv Novick following along. And even Moldoff's mid-'60s art, though not as effective as those gentlemen, was clearly trying to break away from the "old" look. And the scripts too shifted over the decade (though some of that may have just been that with better, more stylish visuals, the scripts inherently seem smatter, more sophisticated).

As such, the problem with Batman in the Sixties is there's less of a consistent tone to the stories...even as, the advantage is...there's less of a consistent tone. The variety is fun, as is following the evolution of a series... and of an art form.

Although "sophistication" is a matter of taste. The first story here, basically a very traditional Batman mystery -- with nary a super villain in sight -- is, arguably more sophisticated (plot-wise) then some of the later stories! This is followed by a story nicely reflecting its by-gone era, with an appearance by the pre-Barbara Gordon Batgirl, as well as Bat-Mite!

A large chunk of the stories are devoted to super villain tales, with no less than two Joker tales, plus appearances by the Penguin, Scarecrow, Clayface II (in his first appearance) and others. On one hand, sure, part of the fun of a hero is his rogues gallery...on the other hand, such stories often are lesser tales, with pretty simple, formulaic plots. Some of the editorializing here blames the times, claiming recurring super villains were a big part of the series (partly in response to the popularity of the 1960s TV series), but I suspect their inclusion also reflects the bias of the selections editor, as there were certainly plenty of tales from that era that didn't rely as heavily on familiar foes pulling off generic heists!

But even here, as mentioned, the evolving visuals can add an extra sophisticated storytelling veneer. Such as a very cinematic sequence of panels in the story "The Joker's Comedy Capers!" as Robin comes up behind Batman. (That story -- about the Joker pulling heists under the guise of filming homages to silent films -- I believe was adapted into a story in the TV series, though the TV episode featured the Riddler). Some of the scripts are pretty plot/gimmick oriented, often more about following the villain pulling his crime, with Batman & Robin just showing up to stop him. Yet other stories hold up well enough, like "The Blockbuster Breaks Loose!" which is a moody enough tale thanks to Infantino's art. It actually ties into a then on going sub-plot...and in a nice add-on, there's a brief editorial at the end of it, explaining how that plot unfolded, making it a far more satisfying read (decades later) than if it was left dangling.

Another "first" (in addition to Clayface II) is the first appearance of villainess Poison Ivy. It's written by Robert Kanigher, and Kanigher is a respected writer, usually for his war comics -- but I've often noticed an odd style to his writing, a kind of dreamlike logic and mannered dialogue that, in a war comic, kind of adds a strange atmosphere. But this Batman tale just seems...odd, like he's writing it as a stream-of-consciousness.

Of course, with Infantino re-setting the visual bar, it means with stories like that (drawn by Moldoff) you're more conscious of the lack of visual flare. Chic Stone's art on the Scarecrow story, though lacking Infantino's finesse, nonetheless offers some dramatic composition and presentation. (Though there is at least one credited mistake -- "Batgirl Breaks Up the Dynamic Duo!" is credited to Gil Kane...but it's obviously Infantino's art).

Like with some of these other Batman collections, what's curiously missing (if only as a reflection of the Batman "line") is any of his Brave & the Bold team ups! However, the Batman family is reflected, both in the regular use of Robin, and both Batgirls, but we're also treated to a couple of solo stories of Batgirl and Robin (both drawn by the appealing combo of Gil Kane and Murphy Anderson).

The final story here, "One Bullet Too Many!", reflects the decades's evolution with a more low-key tale of Batman, sans Robin and costumed villains, trying to catch a gun man. Novick's realist pencils are a far cry from Moldoff's early '60s work, and Frank Robbins script tries for a greater depth, trying -- however heavy handedly -- to put a human face on the victims of crime (as opposed to just using them as plot devices). Whereas, as mentioned, some of the early tales here treat Batman as barely more than a costume to beat up bad guys in the climax, in this tale, we spend most of the story focused on Batman -- including many scenes of him as simple Bruce Wayne, and dealing with human dilemmas removed from the crime busting (as Robin leaves home for college). It also marked a then dramatic change in the series -- not just relegating Robin to an occasional player, but having Batman relocate from Wayne Manor to a mid-town penthouse. Read now, it might seem a minor experiment, but the penthouse locale actually remained in place until the early 1980s...when Batman once more returned to Wayne Manor.

A few more tales like that one might have been nice, to provide more of a counter balance to the lion's share of catch-the-costumed-villain tales. But though, as with other such collections, I can easily argue there were other -- better -- tales that could have been included, Batman in the Sixties is a fun little tome, the very evolution of the medium it attempts to chronical making it a nice little grab bag of styles -- and maybe a more interesting collection than some TPBs which reflect a more consistent style. Most of the tales here aren't particularly smart, or sophisticated...but most are, in their various ways, fun page turners.

Cover price: $19.99 USA.

Batman International 2010 (SC TPB) 168 pages

Written by Mark Waid, Alan Grant. Illustrated by Diego Olmos, Frank Quitely, Arthur Ransom.
Colours/letters: various.

Reprinting: Batman in Barcelona: Dragon's Knight one-shot (2009), Batman: Legends of the Dark Knight #52-53 (1993), Batman: The Scottish Connection GN (1998)

Rating: * *

Number of readings: 1

Reviewed March 5, 2010

These days it often seems as though anything that gets published as a comic, inevitably makes it into a TPB collection a few months later. So you have situations like Batman: International where one suspects the point was simply to re-publish the recent Batman one shot, Batman in Barcelona, as a TPB...and to justify it by tossing in a few other "international" flavoured Batman stories to boost the page count. The problem with things like that is it can result in kind of slap dash TPBs.

I mean, doing a themed Batman collection of international adventures could be a fun gimmick -- y'know, collecting eight or ten stories, culled from over many years, could make a nice little grab bag of disparate tales. But by virtue of being a collection of only three stories, this demands that each story here be that much stronger to make up in quality what is lacking in quantity,

And the stories here just ain't much to write home about.

The gimmick behind the 38 page Batman in Barcelona: Dragon's Knight was to pair industry fav, Mark Waid, with Spanish artist Diego Olmos -- little known in North America -- for a tale set in Olmos' native Spain. Olmos is a perfectly okay artist, nothing more, and not enough so to justify the story on his own (the way, I'd argue, Claudio Villa's photorealist art on Marvel's Daredevil/Captain America one-shot, Dead on Arrival, almost justified the purchase of that comic by itself). While Waid's script is written on autopilot -- assuming you don't mind if your autopilot runs you into a mountain! Seriously, it's just a pretty bland, generic, and thin story. Villain Killer Croc has escaped prison, seeming crazed by some psychotropic drugs, and has gone on a killing spree in Barcelona in order to lure Batman after him so as to act out a restaging of St. George's battle with the dragon. Batman shows up, they have a couple of fights. The end. Honestly, that's all there is to it.

There's a lady friend of Bruce Wayne's, whose part is so small, so pointless and irrelevant, you assume she was only tossed in to play damsel in distress...only she doesn't turn out to have even that much relevance! As if recognizing how thin the story is, Waid throws in a surprise "twist"...except it's a pointless twist that makes the story even lamer than it already was. (And, no, we shouldn't wonder how a seven foot tall lizard man was able to inconspicuously book a flight to Europe).

Obviously, part of the point of an "international" story is the exotic locale, so there is some attempt to draw upon the local colour...but not enough to really distinguish the story (even the idea of Batman being hunted by the cops isn't that unusual). Indeed, it just draws attention to how poorly developed the plot is, when Batman is even told he's arrived on the eve of a Spanish festival honouring the St. George legend...and he still doesn't think to stake out the celebration.

Honestly, one has to assume Waid just knocked this out one afternoon to meet a deadline, rather than out of any inspiration.

Padding out the TPB comes a couple of older stories.

From Batman: Legends of the Dark Knight -- a comic with no regular creative team, so allowing for more or less stand alone stories and story arcs -- comes the two part "Tao". Written by frequent bat-scribe, Scotsman Alan Grant, and drawn by Arthur Ransom (marking the Englishman's first American comics work) it has Batman investigating an extortion racket in Chinatown, only to discover there's an Asian assassin following a similar trail -- an assassin Batman knew from years before. Cue: flashbacks to when they were both studying Taoism and martial arts in the Asian mountains. It's a pretty bland, non-descript tale, one that might've been an okay filler for one issue, but at two seems stretched, like Grant only agreed to do it if he could get two pay checks for it.

The idea of the adversary in a current case causing the hero to flashback to their shared history is nothing new -- nor even the Asian/martial arts milieu. In fact, around this time Batman: The Animated Series did a similar story. Maybe it was based on this comic...or maybe it just demonstrates what I mean about how standard the idea is (my imperfect recollection is that the TV episodes were better). The problem is, there's little personality for any of the characters -- even Batman. Nor is there any real twists or nuance to the story (it's not like he used to be friends with the guy and we learn how they had a falling out).

Maybe the selling point was Ransom's art, and the story was just an excuse to give him something to draw. Ransom's art is certainly impressive, in a British way, with a detailed, realist, fine art sort of style, heavily relying on shadows and light/dark contrasts (presumably because British comics artists are used to drawing for black & white comics). But it too has its problems. It's too dark, where a lot of the time you're struggling to make out what you're looking at. The lack of emotion/personality to the figures could also be attributed to the way Ransom draws faces and expressions.

The longest story in this collection, ironically, already existed as a graphic novel (as opposed to a folded spine comic book). Batman: Scottish Connection, written by Alan Grant (again!) and drawn by Frank Quitely. It's the best of the stories here -- and it still isn't much, and I review it in greater detail here.

My common complaint about all three stories is that they all seem rather thin, with meagre plots, little characterization, nor much originality. Maybe in writing about foreign locales, the writers kind of felt like it was a vacation...and didn't really require any work.

Still, as I say, another TPB of some of Batman's various globe hopping adventures might still be a fun idea for a collection. But as for Batman: International -- man, someone should sue the travel agency!

This is a review based on the original comics.

Cover price: $__

Batman: The Killing Joke 1988 (SC GN) 48 pgs.

is reviewed on the next page over